Effi Briest

Effi Briest
               Genre: drama, literature
  Under the “famous last words,” the famous last sentences of literary history takes, Mr. von Briest’s famous “Oh, let Louise (sic), … that is too wide a field, one of the top rank this book.

Hermione Huntgeburths adaptation of Theodor Fontane’s novel, society has set itself ambitious targets. For the book is not only the darling of many German (and thus also the object of hatred so) much troubled student, but also a sophisticated template which has not exactly been waiting for a remake. What is mainly because there are already four adaptations for the big screen, in which, inevitably, the film has to be measured (especially Rainer Werner Fassbinder’s version in 1974 would still be present many cinema connoisseurs). In addition, the director and its screenwriter Volker Einrauch the venture also come in, choose a new narrative and an end to it, which is far removed from that of the novel. A risky business, which also succeeds only partially.

The story of Effi Briest plays in Wilhelmine Prussia in the late 19th Century and traces the journey of a young woman who does not want to come to terms with the tight corset of social conventions: of Effi Briest (Julia Jentsch) is just 17 years old when Baron von Geert Instetten (Sebastian Koch) with their parents (Juliane Kohler and Thomas Thieme) asks for her hand. Nice detail on the edge: The much older man who seeks a political career and is considered a good match, was already before the court and Effi’s mother can not now gaze off her. On the advice of their parents Effi agrees and takes into from Innstettens mansion in Kessin, that the young woman is not entirely at ease. It should, according to legend, the ghost of a mysterious Chinese doing here will be mischief. The relationship with her husband and to the housekeeper Joan (Barbara Auer) is cooled, the longings and dreams of the young woman unfulfilled. This changes only when, after the birth of their daughter Annie a regiment of Innstettens, the dashing Major Crampas (Mišel Maticevic) in Kessin shows up and starts an affair with efficiency.

Is true, the affair is not permanent, but as Effi’s husband years later – in the meantime, the family has lived long experiences in Berlin – from the compound, he challenges Crampas to a duel and kills him. And not only that: Just as Em’s parents is also at Geert from Innstetten Effi and separates her and her daughter Annie. But while in Fontane’s novel Effi broken by the separation, it holds its own in Hermione Huntgeburths film version against all odds and performs in Berlin, although only a limited happy, but a free life, that was not granted her before.

Hermione Huntgeburths new end Effi Briest may startle some purists though, but the trick is not so far removed from Fontane, as it might appear at first glance. Even the real model for Effi Briest, Elizabeth, Baroness von Plotho, whose lover has become the last known duel in Germany was mortally wounded in 1886, did not die as Effi in shame and disgrace, but died only in 1952, after the 99th Age was reached.

Significant purifies and clearly emotional as the literary model presented, this remake of Huntgeburth Hermine (The White Masai), convinces at least visually, and certainly the literary original wrested some amazing pictures. When Effi example, the mysterious Chinese himself sees and believes to hear the sound of rustling in the attic clothes, you feel suddenly on Wilkie Collins’ mystery thriller The Woman in White or The Moonstone (# ) recalls – an astonishing discovery, but gives only a short episode of the film a surprising turn. Then again, in the seduction scene between Major Crampas and efficiency in the beach house, a key scene in the film, believes it is much better in a film version of DH To find Lawrence’s novel Lady Chatterley’s Lover . Whether this will be the applause of enthusiastic admirers Fontane, must at least be questioned.
Very present and sometimes mask has fallen while the film score by Johan Söderqvist, although compositionally successful one, but it has created plenty of pathetic Score who can provide good and happy as a standalone music for quite a bit of aural pleasure. In conjunction with its opulent images, exquisite costumes and first-class facilities, but it gets the film in some places on the TV in the fine twine kitsch classic literature. Rosamunde Pilcher, Inga Lindström or Theodor Fontane – where more and more influenced by the aesthetics of television recycling machine literature mainstream cinema, the difference between kitsch and art, melodrama, a TV movie and a moving photo-novel ever more flattened into a sameness of the images, all jagged, Angular and unruly, and leveled to the one-woman show by Julia Jentsch can be. Their presence and enlightened view of things, illustrates the conflict between emancipation avant la lettre and the restrictive conventions of fossilized Wilhelmine society.

, The coolly appraising Fontane narrative is lost in the thickets of the great pictures and even bigger emotions. Subtle is hardly anything, everything breathes the calculated weight of an elaborate staging, which will be modern, fresh and original. A company which, although quite successful, but at the same time pushing the specificity of the template too much in the background. A cause for having re-read but the movie offers all. And it was only in order to compare the many new developments and modernizations with the wonderful prose, Theodor Fontane and to see that this book has a lot to tell today.

(Joachim Kurz)

Title: Effi Briest Country of production: Germany Year of production: 2009 Length: 118 (Min) of material: ( #) Constantin Film Distribution ISBN: 4011976857686

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